Czech

Not applicable.

Students will be able to apply individual theoretical models and approaches in the interpretation of concerete artworks.

The mandatory courses in philosophy and aesthetics.

Not applicable.

Teaching methods depend on the type of course unit as specified in the article 7 of BUT Rules for Studies and Examinations..

Exam.

1. The role of art theory in contrast to aesthetics or art history. The basic aproaches to art interpretation from the point of view of intention (Umberto eco). Focusing on the author/the work/the viewer
2. Author-oriented theories 1. Psychoanalysis (Freud, Lacan), their impact. The legacy of psychoanalytical theory in feminism.
3. 2. Author-oriented theories 2. Marxist art theories. The terms "structure" and "superstructure" , the "reflection theory." Rigid elaboration of Marx's legacy (Lukacs), leftist thinking and the avantgarde (Peter Burger). The influence of marxism on critical thinking in the interwar period (Benjamin) and the formation of "critical theory" (Adorno, Marcuse}. Neomarxism and the notion of ideology in the work of Althusser. Debord and the notion of "spectacle".
4. Sociology, politology, art theory. H. Lefebre and the notion of the everyday. Bourdieu, the theory of distinction, habitus, cultural capital. post-fordism, globalization, precarization (Zygmunt Bauman, Chantal Mouffé, Antonio Negri).
5. Artwork-oriented theories.1. Formalism. "The formalist turn" in art history (Riegel, Wölfflin), the impact of formalism on the development of modern art (Konrad Fiedler, Adolf Hildebrand). Russian formalism and the theory of the specification. Formalism in art criticism. (Clement Greenberg).
6. Artwork-oriented theories 2. Structuralism and semiotics. Double signification (Ch. S. Peirce, Ferdinand de Saussure). Czech stducturalism between the wars (Jan Mukařovský). Afterwar revival of Sausseure's structuralism. Barthes and the origination of terminological apparatus usable for the interpretaion of "cultural texts".
7. Semiotics in the art theory context. The concept of the opera aperta (Eco) and the stress on the viewer's role as the creator of the meaning .The critique of the concept of the autor/genius ((R. Barthes, Michel Foucault). Feminism, queer studies, postcolonialism - widening the spectrum of the "model viewers".
8. Institutional theory as the summing of the processes of the modern art development. (deprofessionalization, the decomposition of the formal canon according to which an artifact could be identified as an artwork.) Institutional theory criticism and its present possibilities. The changes of institutional characteristics of the art world during globalization and its consequences. institutional critique.
9. modernism, postmodernism, the second modernism. Their characteristics, their optics in theory and their attributes in art.
10. interpreting the image in the context of visual studies. Theory as a pastiche. Employing the agregate of theories and basic interpretation apparatus, based especially on Barthe's adaptation of Saussure's terminology.
11. New media art and its theories. Mc. Luhan and the theory of the medium. Flusser and the notion of technical image. contemporary theory of new media (Martin Lister, Lev Manovich).

Not applicable.

Students will obtain an overview of theoretical models and philosophical tendencies projected into the interpretation of art.

Attendance at lectures is not manadtory.

Not applicable.

Not applicable.

Konrad Paul Liessmann, Filozofie moderního umění. Olomouc: Votobia, 2000.

George Dickie, „Co je umění? Institucionální analýza.“ Dostupné online: http://www.aluze.cz/2008_02/09_studie_dickie.pdf
Hal Foster et al., Umění po roce 1900. Praha: Slovart, 2007. (4 úvodní teoretické kapitoly)
Martina Pachmanová (ed.), Neviditelná žena. Praha: One Woman Press, 2002.
Miroslav Petříček, Myšlení obrazem. Praha: Hermann a synové, 2009.
Roland Barthes, Mytologie. Praha: Dokořán, 2004.
Tomáš Pospiszyl, Před obrazem. Praha: OSVU, 1998.
Tomáš Pospiszyl, Srovnávací studie. Praha: Fra, 2005.
Walter Benjamin, Umělecké dílo ve věku technické reprodukce. In: Dílo a jeho zdroj. Praha: Odeon, 1979, s. 17–43.